Writer-director Joss Whedon swung for the fences, and the result is a consistently fun, exciting action movie that makes the most of a strong cast. The Avengers doesn’t just throw a bunch of comic book characters onto the screen and then blow stuff up real good. Whedon takes care in defining the players and showing how they come together to execute their first mission.

The objective is to take down that villainous Asgardian diva, Loki (Tom Hiddleston), who pays S.H.I.E.L.D. an unwelcome visit to steal the Tesseract. The glowing cube is central to his plot to rule humanity via alien invasion, and Nick Fury, played by the stoically cool Samuel L. Jackson, knows he’s going to need more than one big gun to stop him. One by one, the future Avengers begin assembling, but it’s a bumpy ride.

Could it be otherwise? Powerful people have big egos and generally are not given to compromise, so Thor (Chris Hemsworth) and Tony Stark (Robert Downey Jr.) are not going to un-puff their chests to work toward a collegial solution. At least not at first. Not everyone is wild about taking on the job, either. Most reluctant is Bruce Banner (Mark Ruffalo), whose priority is keeping his raging inner Hulk at bay. Formidable as the heroes’ combined power is, prickly relationships threaten to undermine the cause.

Killer action sequences and impressive special effects? Check. More importantly, The Avengers is driven by top-shelf performances. No one will be surprised that Downey has some of the movie’s best one-liners and that he nails them. Chris Evans remains earnest as Captain America, but the strain of adjusting to life in a new century is apparent. Hiddleston, with his dazzling but scary smile, is perfectly haughty and petulant. Hemsworth gets to show that the mighty Thor has an unexpected, deadpan sense of humor.

The newcomers are no slouches, either. What a relief that Scarlett Johansson’s Black Widow shines as a highly skilled combatant with a sharp mind, not stereotypical eye candy. Mark Ruffalo does a particularly outstanding job, playing Banner as a scarred man who is calm but subtly dangerous. I wish Jeremy Renner’s Hawkeye had a little more to do, and there are a few head-scratchers — most notably a decision to leave Loki unattended (!) during what amounts to a hero hissy fit.

Though it clocks in at two hours and 22 minutes, The Avengers doesn’t have the bloated, indulgent feel of many blockbusters. It’s so well paced and frequently witty that the time flies. Let’s hope this inspires something of similar quality from the other member of the Big Two.

P.S.: Sit tight after the credits roll. There are treats. Grade: A-

Mind the Gap #1

Image Comics is on fire. Week after week, it’s churning out some of the most interesting and innovative comic books around, and Mind the Gap #1 is no exception. On one level, it’s a tantalizing mystery about how a young woman named Elle Peterssen wound up gravely injured and comatose in a hospital bed. But there is an otherwordly aspect to the proceedings that makes Mind the Gap more than a well-written whodunit.

Though Elle can’t move or speak, she is very much aware of the people around her: the best friend and boyfriend, the disapproving Tiger Mom and worried dad, and the detached younger brother who can barely be bothered to pay a hospital visit. She drifts back and forth between reality and a dreamlike limbo that serves as a stopover between life and death. Turns out that purgatory has a sizable population, and at least one tour guide.

There are so many tasty layers to Jim McCann’s story: Elle doesn’t know what happened to her, and there’s something rotten in the medical explanation. Who is the shadowy figure who keeps having ominous phone conversations about a “package,” and what is up with the frosty dynamic in the Peterssen family? As much as I’m itching to learn the what and why behind Elle’s circumstances, I really want to see how writer Jim McCann develops his cast of players.

This issue is perfectly paced, unexpectedly funny in places, and meaty. For $2.99, you get nearly 50 pages of story with nary a bit of filler — quantity and quality. Even better, those pages are graced by Rodin Esquejo and Sonia Oback’s sophisticated, comely art. It’s the little details that catch the eye, like strands of Elle’s hair intertwining or a pivotal character emerging not out of thin air but curling, white cigarette smoke. The artists obviously took a great deal of care in defining the characters and their surroundings.

With a strong story and a striking visual presence, Mind the Gap #1 makes an excellent first impression. Grade: A

Amid all the geeking out, the movie — filmed at San Diego Comic-Con in 2010 — acknowledges the elephant in the room: Comics have been relegated to the background of a giant convention with “comic” in the name, and that is now largely about mass entertainment. It’s unreal to look at old photos of the first Comic-Con in 1970 and compare those images to the huge scene it is today.

But Spurlock goes intimate, focusing on people with the kind of specific, heartfelt passion that defines fandom. Whether or not you’ve been to a major con, you’ll likely see a bit of yourself in the central characters and relate to the comments from anonymous con-goers and well-known creators like Joss Whedon and Kevin Smith.

Comic-Con IV: A Fan’s Hope follows a set of interesting players: Aspiring comic book artists Skip Harvey and Eric Henson, Mile High Comics owner Chuck Rozanski, gamer and amateur costume designer Holly Conrad, action figure enthusiast Anthony Calderon, and lovebirds James Darling and Se Young Kang, who met at Comic-Con the previous year. They all represent different facets of the event, but they’re united in their devotion to the things they love. Tone is important, and Spurlock never mocks his subjects or their pursuits.

Harvey and Henson bring their lifelong dreams and their portfolios to the Comic-Con, and despite their talent, there are critiques and hard realities to endure. Depending on your perspective, it’s either funny or a tad troubling to see Kang refuse to let Darling leave her side so that he can pick up the “Lord of the Rings”-inspired rock for the proposal.

Rozanski, who has been to Comic-Con 38 years in a row, talks about trying to sell comics at a convention where he can’t even use the loading docks at the back of the building (LucasFilm owns them now). Making a decent profit would be nice, but he’d really like to sell an extremely rare, mint Red Raven comic with an asking price of $500,000 to alleviate his financial burdens. Rozanski also has the most memorable line of the documentary:

“When a woman tells you to grow up, that’s God’s way of telling you to get new woman, especially if she tells you to get rid of your comics. There’s three billion women on the planet and not a lot of great comics, so it’s an easy choice.”

What Comic Con IV: A Fan’s Hope does well is to tap into the child-like glee that fans get from temporarily living out their fantasies, meeting their favorite creators or acquiring something cool. Calderon has a sparkle in the eye as he talks about his quest for an 18-inch Galactus figure. When he says he’s not leaving without it, you believe him. Conrad wants to bring Mass Effect alive by re-enacting a scene from the game before a con audience. There are happy and hopeful endings, and some tears.

I do wish the documentary had devoted more time to Comic Con’s evolution from a comics-focused event to the wide-ranging juggernaut it is today. Rozanski hints at the conflict between the old-timers and the Hollywood machine that has overtaken the event, but it’s mostly glossed over. And while I certainly understand the fan mindset, some viewers might be left wondering why someone would spend countless hours preparing to do a five-minute skit based on a video game, or devote an entire room in their house (and a safe) to toys. But maybe Spurlock wanted to avoid pathologizing his fellow geeks by psychoanalyzing them. Is it really that big a deal if someone wants to be Deadpool for a few days out of the year?

Will con veterans learn anything new from this movie? Probably not. Still, as someone who has been in hotel lobbies full of Stormtroopers, Steampunkers and Snapes, I found it charming and full of satisfying human drama. If you’ve never been to a con, don’t be surprised if you have the urge to dig up a cape and get to one soon. Grade: B

In comics, every teen hero reaches a point where he or she wants to prove capable of saving the world, or at least the day, without adult supervision. It’s a timeless theme that has fueled many excellent stories.

But what if the elders are completely out of the picture, maybe for good? What becomes of the sidekicks, to say nothing of the world, that they left behind?

Those questions are at the center of Danger Club #1, which is yet another top-notch offering from Image Comics. The Earth’s young capes are in a dark place after the disappearance of their mentors, who were last seen departing for space to fight a yet-unnamed evil. Apollo, a super-teen with a god complex, has exploited their fears so well that some are falling all over themselves to follow him. But the members of the Danger Club, led by Kid Vigilante, are not having it. Actually, Kid Vigilante isn’t having much of anything. Confident and extremely tough, he provides the book’s most shocking moments. The first rule of Danger Club? Do not make him hit you.

Writer Landry Q. Walker sets a fast pace and doesn’t waste a lot of time with setup or character introductions. This is an efficient, action-packed story that makes the most of the comic’s premise. Left to their own devices, a bunch of agitated, powerful youngsters are fighting among themselves, jockeying for position and abandoning their ideals. With apologies to The Who, the kids are not alright. I’m thinking “Lord of the Flies,” only with teleportation, giant robots and sonic blasts. Walker has created quite an interesting cast of characters to develop.

Eric Jones’ art here is fantastic. Check the opening page, done retro style. The scenes in the arena where Apollo holds his messed-up auditions for sycophants hum with energy. Most importantly, Jones never lets us forget that children are the players. Everyone looks about 14, tops, making the violent scenes uncomfortably unforgettable. The color scheme is too heavy on blues, purples and grays for my liking. However, there are bursts of color that burn brightly against the moody backdrop.

With a smashing first issue to its credit, Danger Club has all the makings of a high-quality hit. Join up.

A version of this review appeared previously on Newsarama.com.

Alpha Girl #2

Imagine if Archie were a grindhouse film, The Walking Dead met Strange Girl, or Pee Wee from Porky’s rolled up an issue of Chew … and smoked it. These are the things I think of as I read Alpha Girl, but Alpha Girl #2 isn’t quite any of those things. With a zombie apocalypse on the horizon, this intentionally gratuitous tale of a 17-year-old girl tries really hard to be fun. Maybe too hard.

Alpha Girl #2 is just another day in the life of Judith. The super-cute, foster-home bred, chain-smoking protagonist works at the local book mart. We know she’s totally indie because of her black A-line cut hair and Ramones t-shirt. From one panel to the next, the story goes straight to the gutter when her co-worker inquires whether or not her urine is diluted. She is selling it to him. To supplement her income, Judith is in the business of selling bodily fluids to the highest bidding pervert (or in this case, just friends in need of some clean pee). We also get the pleasure of a full exposition of her “inventory.” Her festive entrepreneurial skill is punctuated by a bunch of rabid women on the loose, ripping out the jugulars of men with their teeth. As infrastructure and sanity go to hell, the reason Judith is to become Alpha Girl is set into motion.

What set off this particular zombie apocalypse? A cosmetics company’s attempt at placing pheromones in perfume turns women into raging zombies. I sense an attempt at a powerful allegory here … or not. A young girl who’s had a tough life is being set up to probably kick some major zombie ass. Perhaps, she will develop into something other than a pixie not-so-dream girl cliché … or not.

Alpha Girl #2 starts with a clear trajectory as it focuses on developing the main character. As the momentum picks up and there are some attempts at action sequences, the pacing and story become disjointed. There are panels that cut to seemingly random moments and people. I’m not sure why they are relevant to the story or how exactly we got there. I wanted to keep reading, in hope that there would be some payoff. That didn’t happen. For a book that clearly doesn’t take itself too seriously, it was proving to be a lot of work just to make sense of things.

While the story leaves some things to be desired, Robert Love’s stylized, quirky art is quite enjoyable. It is the redeeming quality of Alpha Girl #2. The ridiculously gratuitous plot is tempered by the colorful, expressive, cartoonish art. From Love’s pencils to Diego Simone’s color, the art of Alpha Girl is fun and campy, successfully.

My only gripe about the art is the cover. How they go from the striking cover of Alpha Girl #1 to this is beyond me. The cover to issue #2 is a snapshot of a new character that appears in this issue, but it seems completely out of context. It does nothing to sell the book, and belongs in an interior panel.

I am certain there is an audience for this book. I am also sure that said audience would enjoy it. Does that make it a good comic? Not necessarily. The creators of Alpha Girl get an Anarchist “A” for effort. I can sense their desire to make this story stand out and be entertaining, but the execution is flawed.

— A version of this review appeared previously on Newsarama.com.

Betty and Veronica who?

It takes quite a romance to make a love triangle that’s more than 70 years old seem irrelevant. But that’s precisely what happened when Archie and Josie and the Pussycats guitarist Valerie rocked each other’s world in 2010, making headlines as Archie Comics’ first interracial romance, ever. This was no bland nod to progress, either. Writer/artist Dan Parent made their courtship sweet, believable and, dare I say it, pretty hot. After years of being a card-carrying member of Team Betty, I’m all about this new direction.

Valerie and Archie parted ways when the Pussycats hit the road, but she’s back in town and the sparks resume flying. While Veronica hates from the sidelines, Betty faces reality. “I’m not sure he’s our Archie anymore.” But wait! There’s more. As Valerie’s family settles into their new Riverdale digs, we’re introduced to her cute brother Trev, whose presence sets off a nifty chain of events I sure didn’t see coming. Real surprises in an Archie book? Believe it.

Archie Comics seems to be genuinely invested in these two. In issue #633, we’ll see a possible future in which Valerie and Archie marry and have a daughter. But for now, Parent simply allows the two to pick up where they left off. Cartoon hearts abound, and the characters are so permanently snuggled on a park bench that Jughead quips, “I thought a new statue had gone up.” Valerie’s touring lifestyle could make for some good storylines as she and Archie deal with occasionally being apart. It will also be interesting to see how Trev’s character figures in future issues, especially in light of the aforementioned plot development.

As an illustrator, Parent has a style that’s simple, clean and classically “Archie.” I really appreciate the fact that Valerie isn’t a photocopy of Betty and Veronica, colored brown. Parent took the time to give her slightly different features and hair, and a style that’s a little bit edgier than theirs. He definitely has a way with character expressions. I’m thinking of one panel in particular where Valerie fixes Archie with the Icy Glare of Death after he talks about Betty too fondly. Digikore Studios provides bright, cheerful colors that pop.

Teenage romances aren’t known for their permanence, but some of Parent’s dialogue suggests that this one has legs. Archie #631 is a sugary good time.

— A version of this review appeared previously on Newsarama.com.

An exceptional comic book leaves readers thinking not only about the story’s potential, but also the brilliance of what it has already delivered. Saga #1 is that kind of comic. From the beginning, it is obvious that writer Brian K. Vaughan and artist Fiona Staples have created something special, and what a rare joy to read a highly anticipated book that delivers on every level.

The title promises a sweeping, ambitious narrative, which is exactly what Vaughan and Staples deliver: forbidden love, war, a tense manhunt, political intrigue and sex — all in an exciting sci-fi/fantasy package. But the reader needs characters to care about above all, and one cannot help but become attached to married couple Alana and Marko. Together, at the worst possible time, they are trying to flee the destruction of the fighting between their homelands. On top of that, their union is an intergalactic incident and, apparently, an abomination. Marko is described as “a monster;” Alana, who has just given birth to their child, is dubbed “a whore.” The odds against them are terrible, and yet, the warmth and tenderness between them shine through the gloom. They have some playful and sweet moments, even as they dodge capture with a newborn in tow.

(As for that guy who was upset about the sight of a nursing baby on the cover, there are a couple of panels in this book that would make his head explode. Aside from the fact that there is nothing remotely offensive about breastfeeding, I hope he’s figured out by now that this a book for a mature audience.)

Juxtaposed with this intimate story is a large-scale war, and Vaughan does an excellent job of showing the reader the forest and the trees. The fighting between the planet of Landfall and its lone moon, Wreath, has been outsourced to other places, engulfing other planets far and wide. There are so many layers, which the writer puts together without needless exposition. At 40-plus pages — not a single one wasted — Saga #1 gives the reader a meaty narrative that’s complex but not confusing. Who would expect anything less from the guy who wrote Ex-Machina and Y: The Last Man, which is only my favorite comic book series of all time?

Artist Fiona Staples became a favorite of mine after Mystery Society, and her impeccable, elegant work here is a knockout. The players are so strongly defined, ranging from the otherworldy yet very human Alana and Marko, to fearsome beasts worthy of Star Wars, to robots that are a freaky combination of technology and humanity. Whether in small moments or grand, show-stopping panels, Staples’ illustrations and rich colors make Saga a highly memorable visual experience. Fonografiks’ artful lettering really enhances the book, especially during the moments of narration. All the ingredients blend so well that the reader is never left thinking, “This is such a good comic, but I wish the (insert artistic element here) were better.”

For $2.99, you’re not going to find a better single-issue read anytime soon. Rich in story and beautifully executed, Saga’s first chapter sets the bar very high for the rest of this series. Somehow, I think this creative team is up to that challenge. If you didn’t grab this last week, what are you waiting for? Grade: A+

— A version of this review appeared earlier on Newsarama.com.

Action Comics #5

It’s the “New 52,” and the new Action Comics, and inevitably we revisit fall of Krypton. But how many ways can Krypton be annihilated? In Grant Morrison’s take on Supes’ origin, he makes subtle tweaks to how it all went down in the House of El. With minor adjustments to previous continuity, Morrison paves the road for a plethora of possibilities for future stories. We press pause on the events of issue #4 and focus on baby Kal-El making it to a planet with a yellow sun and less gravity, so he will be super. Superman’s chunky, little baby self is escorted in a rocket powered by an artificial intelligence Jor-El calls Brainiac. It is Brainiac who narrates this issue, entitled, “Rocket Song.”

Morrison telling the story from the rocket’s point of view is rather brilliant. The Brainiac technology has traveled across galaxies and has a penchant for arrogance. “Jor-El of El, the father of such a mind!” Brainiac’s mind, I presume. “Apes with atom bombs” is the way it refers to humans as the military descends upon the crash site. There is a matter of factness in the narration that feels stoic and extreme, perhaps what we imagine an alien to be. It works well in this context.

As many of you know, I am an admitted Morrison apologist. I find his reference-heavy, symbolic writing to be thought-provoking. Up to this point, Action Comics has seemed a bit more straight-laced than what we usually get from Morrison, and I’ve been waiting for the weird. Well, it is time to put your thinking caps back on, kids. Action Comics #5 is bringing the converging plotlines and a bit of time-travel fancy. Morrison will ties it all together, magically, at some point, but we are going to have to wait for it. In the meantime, issue #5 does give us a few “a-ha!” moments regarding the previous four issues.

What was that clothed goat creature that Lex thought was an alien in issue #2? Where IS Krypto? Um, is Superman’s cape indestructible? How did the U.S. Army get possession of the rocket? These questions are answered in somewhat satisfying ways. Still, for all the exposition in Action Comics #5, we are now faced with a heap of new questions. Who is the Anti-Superman Army? What the hell is Synthi-K? Wait. How is the Fortress of Solitude created? Is that the Legion? Did you just say “tesseract?”

Action Comics #5 succeeds by bringing richness and nuance to a long-loved story. But if someone picked up this comic and had not read any of the prior issues, they would be completely lost. This is where Action Comics #5 fails, because I thought that is what DC was trying to get away from. The purpose of the relaunch was to bring in new readers, particularly on flagship titles such as this. For a seasoned comic reader, the quirky, esoteric elements that Morrison adds to his stories are part of his charm. But the truth is, Morrison’s writing has made Action Comics insular after a few issues. You simply must go back to issue #1 to know what is going on.

Andy Kubert does a super job on art duties this month. He may have drawn one of most handsome Jon Kents I have ever seen. He has a knack for letting the eyes of the character tell the story in a panel. There is some really great expressiveness, which gives a lot of much needed emotion to the story. Where Grant goes off on a bit of an alien tangent, Kubert brings the issue back down to Earth with some classic (solid) comic art. I also think that Jesse Delperdang’s inks and Brand Anderson’s colors play a big part in the traditional feel of the issue.

While there is something fantastic in Morrison’s cryptic references and unabashed imagination, the feeling of “Oh my gosh! That was so good” does not dwell in these 20 pages. It is clever and interesting, but serves more as disjointed, ambiguous groundwork than an action comic.

A version of this review was published previously on Newsarama.

Life With Archie #16

This just in: Life With Archie is friggin’ awesome. Yes, I know the series is no longer new, but no matter how many times I read it, I’m surprised by just how juicy it is. Seeing Riverdale’s former teens as grownups who are grappling with real-life drama is fascinating. LWA has become the comic book version of the TV soap you don’t want to miss.

Writer Paul Kupperberg meets the difficult challenge of crafting two interesting, separate narratives: One in which Archie is married to Veronica, and another where he and Betty are hitched. Sudsy goodness abounds in both, but Archie’s strained marriage to Veronica yields some of the strongest storytelling in this issue. The two are separated, but Ronnie has been living it up as tabloid catnip, and conspicuously so. When she hogs the spotlight at war veteran Kevin Keller’s wedding (more on that later), Archie goes completely off and confronts her in a manner that’s a tad unsettling.

“Don’t worry, Reggie. She’s done dishing it out to me. It’s my turn to start giving her grief,” he says, angrily grabbing Veronica’s arm. Oh, damn.

There’s a certain shock factor that works in this book’s favor, but what makes it a satisfying read is that the emotion is genuine and relatable. You really feel for the characters as they watch their relationships sputter and crumble, worry about making ends meet and even face legal problems. Kupperberg takes them beyond the archetypes we grew up with and gives them a refreshing complexity. And who knew that Hiram Lodge, cast here as a scheming, manipulative tycoon, would make such a great villain? Or that one-time timid genius Dilton Doiley could be so creepy?

A book with more than 50 pages has room for a lot of story, and Kupperberg doesn’t waste a single page. Neither do illustrators Fernando Ruiz, and Pat and Tim Kennedy. One of the impressive things about their art is that they subtly make the characters look like older versions of themselves without departing much from the Archie house style readers are used to. Panels overlap and brim with detail but never seem cluttered. The scenes of Kevin leading his fellow Army soldiers through enemy fire in an unnamed Middle East territory are particularly striking, and the colors throughout are vivid.

Speaking of Kevin, he and his boyfriend, Clay, make comics history in this issue by tying the knot. The significance is obvious, so Kupperberg simply tells the story behind their relationship and treats their marriage like any other joyous occasion. (Spoiler Ahead!)

I have just one complaint. This is a series with grownup themes, and the big smooch is a given at any wedding. So the fact that there’s no scene of Kevin and Clay kissing is puzzling, and it’s a glaring omission. There’s nothing graphic or remotely inappropriate about that. But to be fair, it’s still a touching and undeniably progressive story, one that you don’t have to be an Archie Comics fan to appreciate.

Even if you have just a passing interest in the world of Riverdale, you should give this highly enjoyable series a chance.

A version of this review was published previously on Newsarama.

The team behind the excellent The Stuff of Legend series understands perfectly that time in a kid’s life as well as the magical quality of playthings. However, this book is not child’s play. Set in the 1940s, The Stuff of Legend is a dark bedtime story that is as surprising as it is enthralling. If you’re a Fables fan, you should be reading this book.

The premise: After his closet door is pried open, a boy is dragged from his room into The Dark by the one and only Boogeyman. The child’s loyal puppy and toys — stuffed bear, Jack-in-the-box, piggy bank, Indian princess doll and toy soldier — set off on a dangerous journey to find him. The toys become real-life versions of themselves once they cross over, and they’re immediately thrust into battle with the Boogeyman’s army.

The Dark is a vast, unpredictable place with jungles, dark, roiling seas and a seriously messed-up town called Hopscotch. (I promise that you’ll never look at a clay monster or a game of Monopoly quite the same way again.) As I mentioned in a Newsarama review a while back, the book captures the disorienting, Alice-in-Wonderland quality that makes nightmares so upsetting. How do you find your bearings in an unpredictable fantasy world?

Writers Mike Raicht and Brian Smith provide plenty of peril and didn’t-see-that-coming moments, but the distinctive characters give The Stuff of Legend real depth. There are hard feelings and squabbles, romantic longing and good old-fashioned betrayal along the way. My favorite character by far is the quick-witted, nimble and brave Jester who, appearances to the contrary, is nobody’s clown. Some bad guys learn this the hard way in one particularly entertaining scene.

Artists Charles Paul Wilson III (illustrations), Jon Conkling and Michael DeVito (color and design) also deserve a big round of applause for making this story so visually striking. The characters’ personalities really come through in Wilson’s drawing, and the sepia coloring gives the book an appropriately vintage, dreamy quality. Once you’re in that world, you’re there until the last page.

The Stuff of Legend is into its third volume, but you need to start from the beginning to fully appreciate the story. A grand adventure awaits.

You wouldn't like me when I'm angry.

The Surprises
Despite some well-documented flubs, one of the nice things about the relaunch is that it has given readers an opportunity to see some characters with fresh eyes. Aquaman and the Flash (Barry Allen) have long occupied that list of characters I don’t care about, but the buzz around their books was too loud to ignore. Lo and behold, the kudos are well-deserved.

After establishing that Aquaman is a badass in spite of everyone’s fish jokes, Geoff Johns dives (sorry) right into a thrilling story involving some disgusting sea creatures who who are chowing down at the Unsuspecting Human Buffet. I love a good husband-wife team, so the idea of Arthur and Mera making a new life among the landlubbers works for me. And these two have so much swag, putting to rest any notions of them being useless out of water. Ivan Reis’ art (gloriously colored by Rod Reis) as bold and gorgeous as ever, so this is pretty much a slam-dunk.

As for the Flash, I can’t go so far as to say that I’m suddenly fascinated by Barry (Team Wally!). However, co-writer /artist Francis Manapul is doing some rock-star visual storytelling here. The illustrations sizzle with the kind of energy befitting the Fastest Man Alive, and the composition of certain pages/panels really grabs your attention. The narrative isn’t the most memorable, but issue #1 was so much fun overall that I’m definitely along for the ride.

The Comeback Kids
I was so sure I was dropping Justice League after that uneventful and frankly disappointing first issue. Then I would up reading #2 and, well, it turned out to be a hoot. The buddy-movie dialogue between Green Lantern and the Flash was quite amusing, as was their needling of Batman (“A tool,” according to Hal). After establishing that all the heroes gathered so far have superpowers, Flash asks Batman flat-out, “What can you do?” “I can keep us on point,” Batman growls. Snap! It’s probably not a good sign that I’d forgotten Vic Stone’s presence entirely until I re-read the book. However, Wonder Woman is making her JL debut in issue #3, so I’m in for at least one more round.

If not for the presence of Tim Drake, I’d have dropped Teen Titans with no remorse based on that tired first issue. Issue #2 fares much better because the story now feels like it’s headed somewhere. The premise of metahuman teens being recruited for either execution or corruption is pretty interesting, and there’s some snappy dialogue. I appreciate Scott Lobdell’s efforts to give Cassie Sandsmark a distinctive personality, but I feel like she’s just a watered down version of my beloved bad girl Ravager, who is nowhere to be found. Oh, well. TT is still on the pull list for now.

When last we saw R&D, their beach vacation was rudely interrupted by zombies and a grumpy siren who temporarily turned Reignbow’s boyfriend, Treasure, straight. That was a big no-no, and many faces were cracked in grand style. This installment, “Ware-Mo’s and Vamp-Queers,” finds the trio on the hunt for the Queen Vampire responsible for Treasure’s temporary conversion, and she’s a nasty, tentacled thing who has unsavory plans for Reignbow’s man.

Unfortunately for the Queen and her minions, Reignbow and Dee-Va are armed with action hero moves, razor-sharp trash talk, and some seriously effective Benefit face powder. It’s a riot thanks to Andersen’s hilarious one-liners and strategically placed pop-culture references. Personally, I think the term “ho-bag” should be used much more often to describe comic book villains.

Co-creator and illustrator Celina Hernandez has the kind of festive, “Ta-da!” style that this book demands. I mean, when was the last time you saw a multicolored bouncy house in an action comic? There’s also one panel that contains one of the most giggle-worthy and unexpected Wonder Woman references in recent memory.

The beauty of this comic is that it has absolutely no fear of going over the top, either in the Did-He-Just-Say-That? dialogue or the naughty flamboyance of its characters. Red leather catsuit? Check. Tight white shorts and lace-up boots? Check. There’s nothing subtle about Reignbow and Dee-Va, and I love them for it. Sparkle on!

Many thanks to the Every Day is Like Wednesday blog for putting this comic book on my radar back in 2008.

Batwoman is a shining star in the DCU. I knew it would be. I reveled in every single panel of J.H. Williams III’s stellar art. He wins on writing, too. E. concurs.

Once upon a time I was getting Green Lantern, Green Lantern Corps, AND Green Lantern: Emerald Warriors. I lost interest and dropped all of the titles from my pull list. I thought maybe, just maybe, that a Green Lantern book with Sinestro as the star could win me back. But while I read Green Lantern #1, all I could think was how do we get a reimagined Superman but GL picks up right after the War of the Green Lanterns? I think we all know why that is, but my brain says, “NO!” Also, Hal Jordan is even more of a cad. Snore.

Action Comics and Batgirl were equally pleasing to me. Rags Morales is a rock star of comic proportions, and Morrison’s Supes is intricate and intriguing. Gail can write the hell out of some Barbara Gordon. Special kudos to Mrs. Simone for humanizing her in such a relateable way, and showing a Babs with an authentic trauma response. Realism for the win.

I was terribly disappointed by Eric Wallace’s Mr. Terrific. I admit that my reason for reading the book in the first place is rather shallow: I think the character is hot, but the story was just as shallow. It portrayed Michael Holt as haughty and dissociated, and don’t even get me started on the clichés regarding race, gender, and belief. This Mr. Terrific is a far cry from the wise and compassionate Michael Holt that Greg Rucka gave us in Checkmate. No thanks, DC.

I am a fan of Lemire’s Sweet Tooth, so both Animal Man and Frankenstein got bought. I gave Animal Man a try, and it felt lukewarm. Some in my geek circle were complaining about the art. I admire the clean simplicity of Travel Foreman’s art, and it does rev up into some rather complex, gory panels. I think this is a quality book, but there was too much Buddy with the morphogenetic field inner-monologue. It got a little boring in parts for me. Maybe I don’t relate to Buddy Baker, but you might.

That brings me to Frankenstein: Agent of S.H.A.D.E., I enjoyed this book more than all the others. I reread it as soon as I was done, and I feel compelled to make a case for it. The art is going to be an acquired taste for some. The colors and lettering are pretty great, but the loose lines and gritty feel might be off-putting. Don’t let it be. It really works with the tone of the book. What’s the tone of the book?

Awesome.

Okay. Seriously. It is just the first issue, but it is quite fun. Lemire skillfully references Frankenstein’s continuity with quick dialogue. There are tons of festive physics oddities and S.H.A.D.E. technology. Frankie is quoting the British poet Milton. Father Time is a little girl with pigtails. There is a crew of “Creature Commandos” complete with an amphibious lady scientist, a mummy, and a werewolf and vampire who have a penchant for bickering. The baddest S.H.A.D.E. agent of all is Frankie’s wife. This book has the right mix of camp and grit, and I can foresee these characters making for a most entertaining monster mash. I need you to go buy it so it doesn’t get canned. Please.

P.S. I am beyond excited about Azzarello and Chiang’s Wonder Woman, tomorrow!

Better. Stronger. Faster.

The Bionic Man #1: Can a comic book based on a classic TV show withstand the white-hot expectations of readers full of nostalgia? Or will said nostalgia warp one’s view, resulting in an overly positive or negative response?

Though Dynamite’s new Bionic Man comic had me at “Oscar Goldman,” I still approached it with caution. Col. Steve Austin, astronaut, loomed so large in my childhood that I successfully lobbied my parents to buy me his doll – uh, action figure when I was 7 or 8. As I began reading, I thought of the great RuPaul’s advice to his drag competition contestants: Don’t *%$! it up.

And they didn’t. The Bionic Man #1, written by Kevin Smith and Phil Hester, is quite an enjoyable read. There are some welcome references to the source material, but this is definitely a modern and more mature-skewing story with some of Smith’s familiar potty-mouthed dialogue. I’ll leave you to judge whether that’s good. I’m also pleased to see talented Wonder Woman scribe Hester on this book as co-writer.

This version of Steve Austin is a cocky test pilot who is a pain in ass of his superiors. He gets away with it because he’s good and apparently fearless. He has randy but loving conversations with his fiancé, Jamie Sommers (Yes, that Jamie Sommers) before brazenly showing up late to an assignment: Pushing a stealth bomber to Mach 8, which I assume is insane. It’s not spoiling anything to say that the mission takes a bad turn.

A good deal of the action begins before we even see Steve, though. In the opening scenes, a man/machine trashes a lab, brutally dispatches some men in white coats, and steals some experimental tech. It’s not the first incident, and this is of grave concern to Oscar. Instead of the sharp-dressed government agency head from the TV show, Oscar is a rumpled, weary man who tolerates screaming military officials. In one of the book’s most entertaining moments, he has a bit of fun with an angry general who loathes Steve. And robots.

The story is straightforward, well-constructed and briskly paced. Smith and Hester succeed at paying homage to the TV show — look, there’s Dr. Rudy Wells! — without being slavish. I don’t know whether this was intentional on artist Jonathan Lau’s part, but at least once, Steve does that arched eyebrow/classic Lee Majors thing. And speaking of Lau, he’s a good choice for a series that’s going to be very heavy on action. I was a tad disappointed by the washed-out colors, though they are kicked up a notch in the dramatic conclusion. The familiar words in those closing panels made me smile. Grade: B

Teen Titans #100 : The overriding theme of this historic issue is “Let’s thrash Superboy Prime.” If you dislike the character as much as I do, that’s an attractive premise indeed. Though the title lost steam in recent issues, writer J.T. Krul deserves a lot of credit for making Teen Titans a book people wanted to read again. And oh, that lovely art from Nicola Scott! This final, pre-relaunch issue brings various DC superteens together to defeat Prime, his clones, and other assorted young villains who have descended upon Titans Tower. Superboy Prime remains pure hatred, still bellowing about the loss of his world, how Conner Kent is an inferior photocopy, how he was robbed, etc. His rage is bottomless, so this is a fierce battle that requires every ounce of teamwork and brawn that the Titans and their allies have. Fortunately, they’ve got Robin and Ravager. Everyone does more than their share, but it’s these two rascally scene-stealers who have some of the most memorable and festive moments. There are some beautifully executed splash panels to enjoy, and Jason Wright’s luminous colors make them even more eye-popping. That close-up of Superboy Prime’s blue eyes, blazing menace under that spit-curl and angry eyebrows, gave me chills. Because Rose Wilson is one of my favorite characters, it was genuinely touching to see a softer, sensitive side in a post-battle moment with Conner. What might have been? We’ll never really know, but not all questions need to be answered — especially when the finale is this well done. Grade: A

Captain America #2: By all accounts, longtime writer Ed Brubaker has done a masterful job with his Captain America stories. For people like me who are way late to the party, this freshly-launched volume is an excellent point of entry. As a man out of time, Steve Rogers is constantly confronted by ghosts. His former love and fellow soldier Peggy Carter has just been buried. He knew Jimmy Jankovicz as a boy who could cross dimensions and even touch people’s dreams, but Jimmy is now a catatonic, elderly man in a wheelchair. And of course, the fallen Bucky is never far from Captain America’s mind. “Enough! It was 65 years ago!” says exasperated S.H.I.E.L.D. agent Sharon Carter, Peggy’s niece and Steve’s on-and-off-again girlfriend. Brubaker uses flashbacks effectively without overdoing backstory material, and he’s setting up a potentially thrilling story about old enemies and otherworldly threats. And boy, does Steve McNiven’s art have a serious wow factor. Whether it’s a quiet moment or an action sequence, his illustrations are impeccably executed. The texture of Rogers’ suit is practically tangible in one panel, and McNiven nails the details of body movement and facial expression. Justin Ponsor continues to be one of my favorite color artists, and his work makes McNiven’s images glow. Even if you don’t have an affinity for the First Avenger, this is worth checking out. I also recommend Brubaker and Marc Andreyko’s Captain America and Bucky, with rock-star artist Chris Samnee in the house. Grade: A

Ever since we launched Girls Gone Geek, V. and I have been asked about our favorite stories and what we recommend to people who want to get into comics. Our lists are always evolving and growing, but we’ve long wanted to spotlight the game-changing books that have stoked our fangirl fire over the years. Today, we’re kicking off our “Arcs of Awesome” feature with a book we both hold in very high esteem. — E.

Identity Crisis is one of the most polarizing stories I’ve ever loved. DC fans appear to be sharply divided over this book, but it is so special to me that I didn’t even blink when I saw the price for the Absolute edition, which drops in October.

Passion can be blinding however, and no series is perfect. In the early stages, you’ll gloss over a sizable flaw that, with time and distance (and a re-read) is painfully obvious. But before getting into that, I want to celebrate the abundance of goodness that makes Identity Crisis a modern classic.

Some people dislike the “Superheroes have problems, too” approach, and they don’t want to see mighty men and women wrestling with things in a TV drama kind of way. I am not one of those people, and when characters’ joys and struggles are authentic and written well, I respond much more to the surrounding fireworks. It feels like there’s something realistic at stake, not just the usual Fate of The World. I’ve been up and down with writer Brad Meltzer, but I think he succeeded in making Identity Crisis an emotionally resonant and flat-out exciting page-turner. It’s a whodunit with heart.

Big Spoilers Ahead! Seriously. Read no further if you don’t know how this story plays out.

Meltzer made me care about Ralph and Sue Dibny, DC players I’d never given more than two seconds’ thought. His character sketches — irreverent Green Arrow, tough/tender Superman, lone wolf Batman — were spot on, and the JLA members’ interactions spoke volumes about their relationships and the state of their team. Everyone brought something distinctive to the hunt for Sue’s killer. Not just their individual powers, but their methodology and personal motivation. Meltzer also fleshed out the villains, exploring their pettiness, insecurities, and even their hobbies. That panel of Merlyn painting miniature figurines? Brilliant.

You want to talk heart-wrenching moments? Sue’s funeral, the flashback to her horrific encounter with Dr. Light in the JLA watchtower, Batman driving like a bat (sorry) out of hell to help Robin save his dad, etc., etc. I went through a lot of Kleenex. But even with all of the darkness, Meltzer infused the series with some sharp humor. Before Merlyn could even draw his bow in one scene, Wally West stopped him and then mocked his style: “You actually painted all the tips black?”

As for Dr. Light, well, there’s not much middle ground on his depiction as depravity personified. I thought Meltzer’s characterization worked for the story, but there’s no shortage of criticism about whether he went too far. Minds will not be changed (or wiped) at this point. He served his purpose as a heinous dirtbag and a trigger for the JLA’s implosion over ethics.

I owe ID a great deal of gratitude for introducing me to Rags Morales’ art. Morales crushed it in these stories, matching Meltzer’s script detail for detail, emotion for emotion. I can’t count the number of panels that stopped me dead in my tracks, and they were often non-action scenes: Superman comforting Ralph, slumped with despair on a doorstep. Tim Drake hiding under the covers after his father’s murder, ignoring Dick Grayson’s pleas to answer the phone. A group of B-list villains playing a game of Risk, and a C-list villain all but begging for a job, painfully aware of his irrelevance. I devoured Rags’ back-of-the-trade notes on how he designed the characters’ faces and framed certain scenes, and I’ve re-read them several times. Alex Sinclair’s glowing color work, Michael Bair’s beautifully nuanced inks, and Ken Lopez’s crisp lettering brought it all together in one gorgeous package.

Wow.

And now for that flaw.

Initially, I bought the idea of Ray Palmer’s ex-wife, Jean Loring, as the person directly responsible for Sue’s death and indirectly to blame for Jack Drake’s demise. The phrase “the banality of evil” comes to mind, and tragedy often springs from the mundane: Jean wanted Ray back, and she accidentally killed Sue in her attempt to scare the superhero community and rekindle their relationship. I doubt anybody saw it coming, so it was a huge WTF? moment that got people talking.

However, I’ve struggled with this resolution ever since. The more I thought about it in the following months, the more this seemed like a cheap ending unworthy of all that preceded it. Jean’s mental illness seemed to appear out of nowhere, and I wondered why this smart woman would take such outrageously drastic measures to reunite with her ex. Violence is often sudden, but this kind of purposeful, psychopathic behavior doesn’t manifest overnight. Plus, the batshit ex-wife/girlfriend who takes desperate measures to reclaim her man is a stereotype I’ve never been comfortable with. I don’t dispute that these people exist, but it’s a trope that makes me queasy.

However, the other 95 percent of Identity Crisis is so well crafted and lovingly illustrated that it survives a potentially deal-breaking finale. I’ve recommended this book time and again to new comics readers, and to more than a few friends and relatives who don’t read comics at all. I have yet to hear a negative review.

Batman and Robin #23: The solicits for this issue made me very nervous, especially since Batman and Robin is one of my favorite DC books at present. In general, Judd Winick’s writing isn’t my cup of tea, and I’ve struggled with Jason Todd’s resurgence as the Red Hood. However, Winick clearly enjoys writing this character, and his enthusiasm is contagious in the first chapter this arc, “The Streets Run Red.”

There’s no denying the power of Jason’s daddy issues with Batman, or the Dark Knight’s perpetual guilt over Jason’s legendary death as Robin II. It must cut pretty deep when your former sidekick openly mocks your no-killing code, and tells you that he wants out of Arkham because he’s not crazy, “simply homicidal.” So when Jason gets his requested transfer to Gotham City Corrections, what could possibly go wrong? Guillem March and Andrei Bressan do double artist duty in this issue, and while March’s bodies are a bit too bulky for my taste, his facial expressions are stellar. Jason’s steely smirk is particularly mesmerizing, and is it just me, or does he look like a buff, red-haired Jesus? There are also some unexpected touches, like a scene of Mr. Hood reading Pride and Prejudice in the prison yard. Much to my surprise, I’m looking forward to part two. Grade: B

Zatanna #13: This continues to be one of the most enjoyable books on my pull list. The transitions from writer Paul Dini, to Matthew Sturges, and back to Dini have been seamless, and the book’s art quality has remained high. A comic is only as good as its characters, and Dini has developed Zatanna into a delightful, relatable superheroine who doesn’t take herself too seriously — at least until the situation calls for it. And as situations go, Brother Night’s prison escape qualifies as a Code Red. Meanwhile, there’s a tense but highly entertaining meeting between Zee and the king of serious, the Spectre. His cryptic, Wrath of God thing, combined with some epic condescension, earns him the hilarious epithet, “cosmic douche.” While I miss Stephane Roux’s beautifully fluid art, Jamal Igle is certainly no slouch. His pencils are crisp and impeccable in their own right, making this issue a visual pleasure. Oh, and that ending? Whoa. Didn’t see that coming at all. Grade: B+

T.H.U.N.D.E.R. Agents #7: I think that Nick Spencer fellow just might have a future in comics! OK, everyone knows that Spencer has done an outstanding job of resurrecting this team of doomed superheroes and making Agents a must-read. However, the illustrations steal the show in this issue, making striking leaps from present-day (artist CAFU), to the 1980s (Mike Grell), to the 1960s (Nick Dragotta). The style varies drastically from segment to segment, but it’s an effective way to introduce the Iron Maiden, a pivotal character. (My favorite section? Dragotta’s Silver Age throwback moment.) Believe the hype. This frequently surprising book is worth your money. Grade: A

Cover art by Esad Ribic

Uncanny X-Force #9
Written by Rick Remender
Art by Billy Tan
Colors by Dean White

* There are minor spoilers contained in this review. *

I initially picked up Uncanny X-Force #1 on a whim. I like the premise of the X-Force team, and Esad Ribic’s covers are seductive. The issue turned out to be an art powerhouse and a character goldmine. I love my team books, and this is a team book of bizarre proportions.

One thing that Marvel does, and I wish DC did, is provide continuity summaries. I knew nothing about Fantomex, Deadpool, and Archangel, but I was interested immediately. Rick Remender’s X-Force is disturbed and dark, and not in the lovable psychopath, Secret Six kind of way.

Some folks find the team that does the dirty work, killing for the greater good, to be trite. I disagree. It is X-Force, led by Wolverine, and it works. There is enough shock to really get your blood going, but it is not gratuitous. It is tempered by the weirdness that Fantomex and Deadpool bring to the table. Stories of blurred morality and black ops (at a time when ethics are malleable and assassination is real) are intriguing, especially if written well.

Art by Esad Ribic

Remender’s fast-paced, character-driven style combined with Jerome Opena’s smooth art and the quick-and-dirty nature of the first arc, Apocalypse Solution, are instant gratification. I have enjoyed every issue since, but none more than #9.

The book has had three artists since its beginning: Jerome Opena, Esad Ribic (also the stellar cover artist), and now Billy Tan. Usually, that would be a strike against a book. However, the artists have maintained the tone and share a similar aesthetic, while strongly asserting their unique style. Also, they are on the book sequentially, alternating arcs. It is a treat to experience different artists that transition so seamlessly.

Art by Billy Tan

While I have truly enjoyed all the artists’ work, I am blown away by one in particular. Hello, Billy Tan. I am very pleased to make your acquaintance. Not that I didn’t notice your work in issue #8, but issue #9 is an entirely other animal. Combined with Dean White’s colors, it is a beautiful work of art.

Remender slows down the pace, and the emotional timing is very measured. This issue happens “between missions,” which alters the scale of the book. So often, the arcs of spandex books are just one crisis after another, with quieter moments being ignored. Pressing pause on the usual chaos within Uncanny X-Force has quite an impact.

Uncanny X-Force #9 is a largely visual story that is low on dialogue. The panel layout reads like sequential movie screens, wide and four to a page, save for one splash page. The simplicity serves the measured pacing. Tan focuses on facial expressions, body language, and unique visual perspectives to tell Remender’s story. The scant dialogue is still very telling: Warren hides his Archangel influence, Wolverine addresses the team about the necessity of their black ops outfit, and Magneto surprises them all with a visit. This issue is Magneto’s story.

The subtle character reveals are clearly building up to the advertised face-off between the X-Men and X-Force, which will launch the Dark Angel Saga. From where I am sitting, Remender has set a captivating stage. This, coming from a DC chick.

Last week was a big one for comics, what with the end of Brightest Day, Justice League: Generation Lost, and the release of Action Comics #900. I love a good blockbuster, and even though I wasn’t reading BD or JLGL, I’ve heard very good things from those who have. Those books don’t exactly need any more publicity.

Since smaller books often get lost in the shuffle, I’d like to sing the praises of another comic that reached a milestone on Wednesday: The New York Five (Vertigo), by Brian Wood and Ryan Kelly, took its final, bittersweet bow this week with issue No. 4. It’s a story about friendship, but a certain kind: the intense but fragile connections you make in young adulthood, specifically the freshman year of college. Riley, Ren, Lona, and Merissa are NYU students and roommates, and while theirs is very much a New York story, it’s also universal. Wood avoids the clichés about coming of age while effectively showing those wobbly, thrilling first steps toward independence.

These four characters were the main players in predecessor The New York Four (Minx), which is also a top-notch read. However, Wood structures the sequel so that you can jump right in and follow the narrative. Riley is sheltered and smarting from the fallout of a bad decision; Ren is romantically impulsive; Lona is scarily obsessed over a (in her mind) bad grade, and exuberant Merissa is keeping secrets about family trauma. The fifth New Yorker is Olive, a street kid we don’t learn much about until the end — and what an ending.

Kelly’s black-and-white images are so eye-catching, and so right for this comic. His illustrations convey the limitless energy of New York, but also the intimacy among the characters. Some of my favorite scenes are the simplest. The original four participate in videotaped sessions with an NYU psychologist, Dr. Paka, and the close-ups of the girls sharing – or hiding – whatever’s going on in their lives are effective. We see things from Dr. Paka’s vantage point, and Kelly has an excellent command of facial expressions and subtle body language. I can’t imagine this series being drawn by anyone else. The saturated cover images provide all the color this book needs.

Wood doesn’t stoop to clear resolutions, and the book is mercifully free of unnecessary internal monologues and explanation. In the end, the reader is left to his or her own imagination, and with a great deal of satisfaction.

Enjoy it while you can, Catman.

Girls Gone Geek has been alive with the sound of frustration due to the not-so-flattering portrayals of beloved female comic characters. Today, I would like to celebrate a powerful character moment for a G3 favorite, Huntress.

Birds of Prey #11 gave us the long- awaited Huntress/Catman “date.” True to form, it was a helluva read. What Gail does best with the Birds is their inner monologue, and Helena’s was spot-on. Her internal struggle with her outright attraction to Thomas in direct conflict with her sense of his darkness was wildly relatable. You see, once upon a time … I was a card-carrying member of the Bad Decision Bears Club, and by “Bears” I mean “Boys.” Reading one of my favorite female heroines have such a real-world struggle was not only validating, but the way she handled it catapulted this issue in to my Top Ten.

During Catman and Huntress’ brief interaction, she sensed that he’d changed since they last saw each other, and so not in a good way. The once anti-heroic Catman crossed over to the dark side when his son was kidnapped. His full-on killing spree and face-chewing got him a one-way ticket to Hell. Since then, his extreme violent tendencies coupled with random bouts of public nudity are a gigantic red flag of his psychopathology. Huntress knows none of this, but she can smell the bad on him.

Son-of-a ... homicidal maniac

As Catman “helps” Huntress track the bad guys who kidnapped a woman; there is a moment where she suspects dishonesty, and she calls him out, without apology. Helena is a smartie, and after some bad decisions in the past, she decided to follow her instinct. She was dead-on. Not only did Catman lie about his involvement with said bad guys, but he and Deadshot staged the kidnapping, thus traumatizing a woman just so he could get close to Helena. Talk about your tainted love. For all the ladies who love a “bad boy,” that kind of dedication is never good.

Never once did Helena compromise her integrity or dignity. She was smart, empowered, and she walked away from Thomas Blake with her swag fully intact. It was utterly inspiring.

Thank you, Gail.

P.S. YAY! Bat Jammies!

The Invicible Iron Man #500.1

Confession time: This is the first standalone Iron Man comic I’ve ever read. My knowledge of Tony Stark has been limited to team books like The Avengers, his guest appearances in other comics, and the recent movies. So in a way, I’m probably the ideal audience for The Invincible Iron Man #500.1, which is essentially a recap of Stark’s life from childhood to present day. While there’s probably nothing new here for longtime fans, it’s an absorbing, attractively presented story for newbies.

Tony narrates his story during an AA meeting, and writer Matt Fraction uses the classic flashback storytelling device. However, the script never seems cliched or movie-of-the-week manipulative. What’s most interesting is Stark’s exploration of how he became an alcoholic; how drinking almost destroyed his life but probably led to his reinvention as Iron Man. It’s clear that he has a tenuous hold on sobriety, and that his addiction has been deeply humbling. He’s a billionaire bachelor and a genius superhero, but at AA, he’s just another guy with a cup of crappy coffee who’s trying to stay on the wagon. Fraction does a very good job of conveying Tony’s basic persona and his vulnerability. You just can’t help but root for the guy despite the considerable damage that he’s done to himself and others.

I really responded to Salvador Larroca’s art, particularly his gift for realistic, detailed facial expressions. His closeups of Stark feature heavily in this intimate story, and it works. Frank D’Armata’s coloring is muted, but his palette suits the narrative’s tone. I don’t often pay close attention to lettering unless it’s done poorly, but Joe Caramanga’s stood out for the opposite reason: They’re quite good.

It’s impossible to give a full picture of such a storied character in one issue, but Iron Man #500.1 hits all the highlights: His relationship with his parents, how he became a crime-fighter, and the toll that his drinking took on his relationships with women, business associates, and the other Avengers. Seeing all that dysfunction crammed into a single issue is heavy stuff, but also touching. There’s a moment toward the end where he calls Pepper Potts, and that brief exchange reveals a great deal about their connection.

For the people who already know this stuff, Iron Man #500.1 might seem extraneous and a waste of their time. But for readers not terribly familiar with Tony Stark, it’s a solid, enjoyable read and a very good entry point.